The drama takes it form from the shifting scenes of memory, and
Williams's surrogate self invites us to focus, in turn, on the
various inhabitants or his dilapidated rooming house in the Vieux
Carre: the comically desperate landlady, Mrs. Wire; Jane, a
properly brought-up young woman from New York making at last grab
at pleasure with Tye, the vulgar but appealing strip-joint barker;
two decayed gentlewomen politely starving in the garret; and the
dying painter Nightingale, who tries to teach the young writer
something about love--both of the body and of the heart. This is a
play about the education of the artist, and education in loneliness
and despair, in giving and not giving, but most of all in seeing,
hearing, feeling, and learning that "writers are shameless spies,"
who pay dearly for their knowledge and who cannot forget. Building
on two decades of Williams scholarship since Vieux Carre was
originally published, Robert Bray, editor of The Tennessee Williams
Annual Review, has provided a new introduction for this edition,
giving the most authoritative account yet of its background and
genesis."
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